OUR VITASTA: FROM SACRED CHANTS OF RIG VEDA TO THE VERSES OF ALI SARDAR JAFRI

                                                                             

Long before she found her lyrical self-expression in the cadences of Ali Sardar Jafri, the river was revered as Vitastā, a sacred current remembered in the Rig Veda, where she is invoked among the life-giving rivers of the ancient land:

इमं मे गङ्गे यमुने सरस्वति शुतुद्रि स्तोमं सचता परुष्ण्या ।
असिक्न्या मरुद्वृधे वितस्तयाऽर्जीकिये शृणुह्या सुषोमया ॥

imaṃ me gaṅge yamune sarasvati śutudri stomaṃ sacatā paruṣṇyā |
asiknyā marudvṛdhe vitastayā ’rjīkīye śṛṇuhyā suṣomayā ||

In this ancient invocation, Vitastā is not merely a river, but a presence; heard, praised, and entreated as a living force within a sacred landscape.

By the age of the Mahabharata, her waters are woven into the spiritual journeys of humankind:

गङ्गां सरस्वतीं चैव सिन्धुं च यमुनाṁ तथा ।
वितस्तामथ विपाशां च स्नात्वा पापैः प्रमुच्यते ॥

gaṅgāṃ sarasvatīṃ caiva sindhuṃ ca yamunāṃ tathā |
vitastām atha vipāśāṃ ca snātvā pāpaiḥ pramucyate ||

Here, Vitastā becomes a path to purification, her flow a medium through which the burdens of existence are gently washed away.

And in the Nilamata Purana, she emerges as the very soul of Kashmir, born of divine command:

वितस्ता नाम या देवी सर्वपापप्रणाशिनी ।
शिवाज्ञया विनिःसृता लोकानां हितकाम्यया ॥

vitastā nāma yā devī sarvapāpapraṇāśinī |
śivājñayā viniḥsṛtā lokānāṃ hitakāmyayā ||

Thus, at the behest of Shiva, she descends—not merely to flow, but to create, to sustain, to remember. Across these layered traditions, Vitastā flows, ancient yet ever-renewing, known today as the Jhelum River. A witness to myth, memory, and history alike, she is at once scripture, landscape, and song.And when this ancient river, after centuries of being invoked, revered, and remembered, at last finds her modern poetic voice, she speaks through the imagination of Ali Sardar Jafri, becoming not merely a subject of verse, but its speaking self:

Maanind joo-e-zindagi shaam o sahar behtaa huun mein
Har dam ravaan, har dam davaan, har dam jawaan rahtaa huun mein

Like the stream of life, through dusk and dawn I flow;
At every moment moving, striving, forever young, I grow.

Vaadi mein lehraata hua
Sabze se ithlaata hua
Sau pech o kham khaata hua
Hanstaa hua gaata hua

Through the valley I sway and wander,
In the green I preen and ponder,
In a hundred winding turns I glide,
Laughing, singing as I ride.

Maujon ki zufein kholta
Qatron ke moti roltaa
Maashooqa-e-Kashmir ke
Pehloo mein itraata hua

I loosen the tresses of my waves,
I scatter pearls my spray engraves,
Beside my beloved ( Kashmir) , I remain,
Adorned with grace, with tender refrain.

Kheiton ke daaman mein yahaan
Baagon ke saaye mein vahaan
Apni sharaab-e-naab ke
Sagar ko chhalkaata hua

In the lap of fields I linger here,
In orchards’ shade I reappear,
The pure wine of my being I pour,
A brimming, life-bestowing store.

Maanind joo-e-zindagi shaam o sahar behtaa huun mein
Har dam ravaan, har dam davaan, har dam jawaan rahtaa huun mein

Like the stream of life, through dusk and dawn I flow;
At every moment moving, striving,forever young I grow.

Thus, from the sacred utterance of the Rig Veda to the epic memory of the Mahabharata, from the living myth of the Nilamata Purana to the lyrical self-expression of Ali Sardar Jafri, the river endures, Vitastā, Jhelum, speaking at last in her own voice:

I flow. I remember. I become…

 

(Avtar Mota )

CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http:\\autarmota.blogspot.com\.

SAHITYA AKADEMI AWARD SYSTEM

                                                                      

The Sahitya Akademi Award System

The Sahitya Akademi has long occupied a position of singular importance in India’s literary landscape, serving as a national institution dedicated to the promotion of literary excellence across the country’s diverse linguistic traditions. Through its publications, translation initiatives, and recognition of authors, it has significantly contributed to the preservation and enrichment of Indian literature. However, notwithstanding this distinguished legacy, the credibility of its Award System has increasingly come under scrutiny within scholarly and literary circles. Concerns regarding the opacity of selection procedures, the composition of evaluative bodies, and the consistency of literary standards have given rise to doubts about whether the awards invariably reflect the highest merit. These apprehensions do not diminish the institution’s stature; rather, they underscore the urgency of strengthening its evaluative mechanisms to ensure that its recognitions remain beyond reproach.

1.    Structural Deficiencies in the Existing Committee System

The prevailing committee-based framework of the Sahitya Akademi awards exhibits structural deficiencies that risk compromising the integrity of literary recognition. The concentration of evaluative authority within relatively insular literary circles fosters conditions conducive to subjectivity, intellectual conformity, and, at times, patronage networks. Such a configuration may privilege affiliation over merit, thereby weakening the foundational principle of recognising literary excellence. A growing body of critical opinion within literary discourse indicates that some works honoured by the Akademi do not consistently withstand rigorous scholarly scrutiny or meet the highest standards of literary merit. Conversely, several authors of notable originality and intellectual depth remain overlooked, pointing to systemic lapses in evaluative judgment. These concerns underscore the need for a comprehensive re-examination of institutional design.

 

2.    Reconstitution of Jury Composition through Cross-Linguistic Scholarship

A central reform must address the composition of selection committees. It is proposed that each jury include two eminent scholars from the concerned language alongside at least three distinguished scholars drawn from other Indian linguistic traditions. Such a pluralistic structure would introduce comparative literary perspectives and reduce the risk of parochial judgment. In a multilingual literary culture such as India’s, cross-linguistic scholarly engagement is essential. It ensures that works are assessed against broader aesthetic and intellectual benchmarks, preventing insular preferences from overshadowing genuine excellence.

 

In  Institutionalisation of Translation for Comparative Evaluation

To enable meaningful participation by scholars beyond the source language, all shortlisted works should be translated into English and, where feasible, into one or two widely used Indian languages. AI tools can be quite helpful. These translations must adhere to high standards of fidelity and literary quality. The availability of such translations would allow evaluators to transcend linguistic barriers and apply comparative frameworks, thereby strengthening objectivity. This process would also help identify cases where works of limited merit may have been elevated due to restricted evaluative access, while ensuring that deserving yet linguistically marginalised voices receive due recognition.

 

4.    Codification of Transparent Evaluation Parameters and Ethical Safeguards

The Akademi should formalise and publicly articulate clear evaluative criteria, including originality, stylistic innovation, thematic depth, cultural resonance, and enduring literary significance. Jury members should be required to submit written appraisals aligned with these parameters, ensuring intellectual accountability. At the same time, robust conflict-of-interest protocols must be instituted. These should mandate full disclosure of personal or professional affiliations and require recusal where necessary. Regular rotation of jury members would further prevent the consolidation of influence and promote institutional neutrality.

 

5.  Oversight, Transparency, and Mechanisms of Accountability

An independent oversight body comprising senior scholars of unimpeachable integrity should be constituted to review procedural adherence without encroaching upon academic autonomy. Transparency measures, such as the publication of shortlists, anonymised jury observations, and reasoned justifications for final selections, would significantly enhance public trust. Additionally, a limited yet structured mechanism for procedural review should be established to address potential lapses. Such safeguards would reinforce institutional credibility while preserving the independence of literary judgement.

 Conclusion

The Sahitya Akademi’s Award system should align itself with the principles of scholarly rigour, transparency, and equitable representation. The Ministry of Culture should undertake a comprehensive review of the present procedures to ensure that literary merit, rather than affiliation or influence, remains the sole criterion of recognition. Only through such reforms can the institution fully uphold its mandate and ensure that no writer of genuine distinction remains unacknowledged. The Sahitya Akademi Award remains one of India’s most respected literary honours, but like any award system, it reflects both literary merit and institutional dynamics. That’s why debates often arise after announcements; some celebrate the choices, while others argue that more deserving works were ignored.  Interestingly, these debates aren’t necessarily a weakness. They often signal that literature is alive and contested. When people argue over whether a writer or book deserved recognition, it usually means there’s a vibrant  culture paying attention.

( Avtar Mota )

 

CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http:\\autarmota.blogspot.com\.

MY LATEST POEM ' I AM PERFORMING AN UNENDING HOMA '

                                                                               

This is my latest poem:

( I Am Performing An Unending Homa )

Nature moves on

with a strange, merciful indifference,

as though my discontent

were never written into its design.

Night dissolves into dawn.

Evening descends like a lullaby,

and the world yields,

softly, completely, to sleep.

But not I.

O Lord,

Why have You inscribed

this cruel insignia of wakefulness

upon my forehead?

Through day and night

I perform an unending Homa,

A sacrificial fire

Without altar,

Without a priest,

Without end.

It does not sanctify.

It consumes.

And I,

Alone before it,

Stand trembling,

Compelled to whisper ‘Swaha’

again and again:

“I offer this. I surrender this.”

until my own voice

begins to sound like ash.

What offering is this

that never fulfils the ritual?

How much of myself

must I cast into this fire?

What fire is this

that refuses completion,

that withholds

the mercy of ending?

Have You turned Your gaze away

that sleep has forgotten my name?

Or am I bound

by some unseen decree

to feed this flame endlessly,

To break myself into fragments,

To offer breath after breath,

Hope after hope,

Until nothing remains

but a handful of ash,

And even that

left unclaimed by the wind?

Tell me,

Will there be a Poorn-ahuti,

That final, merciful surrender,

When all this anguish is gathered

and ended in a single grace?

Or is this my fate:

A ritual without completion,

without release?

Is this my trial

or my punishment?

Am I being purified

or slowly erased?

I do not know.

I do not know.

I do not know.

(Avtar Mota )

CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.

Based on a work at http:\\autarmota.blogspot.com\.

GOODBYE TO ASHA BHOSALE: THE QUEEN OF MUSICAL VERSATILITY

                                                                 

          

GOODBYE TO ASHA BHOSALE: THE QUEEN OF MUSICAL VERSATILITY

The passing of Asha Bhosle at the age of 92 invites not merely an outpouring of grief, but a more sustained meditation on the ontology of voice itself—on how certain timbres outlive the bodies that produce them, and how song, in rare instances, becomes a durable form of cultural memory. Admitted to Breach Candy Hospital in Mumbai on April 11 following extreme exhaustion and a chest infection, she exits the material world; yet her sonic presence persists, diffused across time, inhabiting both private recollection and collective consciousness.

To situate Asha Bhosle within a linear historiography of Indian cinema would be to diminish her significance. She was not simply a participant in the evolution of film music; she was one of its principal agents of transformation. Beginning in the late 1950s, her voice emerged as a site of formal innovation,: absorbing, reconfiguring, and rearticulating diverse musical idioms. Her collaborations with R. D. Burman, in particular, may be understood as a paradigmatic moment in South Asian popular music: a confluence where jazz harmonies, Latin rhythms, and indigenous melodic structures coalesced into a new auditory language. These were not merely compositions, but interventions, reshaping the epistemic boundaries of what playback singing could signify.

Her artistry resists reductive categorisation. To describe her as “versatile,” though accurate, is critically insufficient. She functioned instead as a liminal figure, occupying and traversing the thresholds between genres, affects, and performative registers. She was at once unconventional and maverick, yet anchored by an unmistakable humanism. Her voice carried an affective density that allowed it to oscillate between irony and sincerity, eroticism and restraint, melancholy and exuberance, often within the same melodic phrase.

This complexity is perhaps most evident in the interpretive depth she brought to individual compositions. The subdued invitation of Aaiye Meherbaan gestures toward a philosophy of seduction that is as much interior as it is performative; Mera Kuch Saamaan functions almost as an aural palimpsest, where memory, absence, and temporality are layered with remarkable subtlety. In Dil Cheez Kya Hai, she engages with the semiotics of classical desire, rendering it with poise and deliberation.

Yet to confine her to introspective registers would be to overlook another equally significant dimension of her oeuvre. In songs such as Yeh Mera Dil and Piya Tu Ab To Aaja, one encounters a performative modernity, where voice becomes corporeal, rhythmic, and sensorially immediate. The playful cadence of O Mere Sona Re Sona Re exemplifies her ability to infuse lightness with technical precision, while the husky tonalities of Aao Na Gale Lagao Na, Dum Maro Dum, Inn Aankhon ki Masti Ke, Chain Se Hum Ko Kabhi, and Jawani Janeman reveal a nuanced manipulation of breath and texture that redefined vocal sensuality and human moods in Hindi cinema. I am always amazed by her song "Chain Se Hum Ko Kabhi". There’s clear heartbreak in her voice, but it never becomes melodramatic. You hear complaint mixed with lingering love.

Though Asha Bhosle is canonically situated within the filmic and cabaret idioms of post-Independence Hindi cinema, her interventions in the devotional sphere constitute a significant—if comparatively underexamined- counterpoint to her predominantly secular oeuvre. Her devotional recordings traverse a notably pluralistic terrain: from film bhajans such as Tora Man Darpan Kehlaye (from Kaajal), and Payoji Maine Ram Ratan Dhan Payo, and to pieces like Saancha Tera Naam( duet with her sister Usha ) , wherein she deploys a thumri-inflected microtonal sensibility to articulate Madhura-bhakti. Her engagement extends beyond the Hindi film idiom into Marathi abhangas associated with saints such as Sant Dnyaneshwar and Tukaram, where her diction largely preserves the traditional rhythmic austerity of the form whilst subtly modernising vocal timbre through studio reverberation and orchestral layering.Her renditions of Sikh devotional compositions, such as Re Mun Aisso Kar Sanyaasa( a poem of Guru Gobind Singh ) , Satguru Aayo Sharan Tihari,Prabh Ju to ke Laaj and Mere Sahib Mere Sahib, together with several private devotional albums released during the 1980s and 1990s, are particularly instructive for ethnomusicological inquiry. They illuminate the negotiation between classical vocal idioms, mediated devotional expression, and the evolving technologies of sound recording, even if such works remain peripheral to her principal musical identity.

We Kashmiris remain indebted to her for singing two most popular songs in chaste Kashmiri: Rasul Mir's  Laalas vantai su sawaal saalas anna tan baliye( tell that beloved my complaint and bring him to the feast ) and Shamas Faqir's  Ha Ashqa tsooro rashq kar thas dewaana tai panun aasith chhukh tse lagaan begaana tai ( O love thief , I madly envy you, why you behave like stranger, arn't you my darling ). These songs were recorded by Akashvani Srinagar in 1978 when she was on a private visit to Kashmir.

Importantly, her contribution was not limited to aesthetic innovation alone; it also possessed a sociocultural dimension. At a historical moment when Indian society was negotiating modernity, urbanisation, and shifting moral frameworks, Asha Bhosle’s voice became an acoustic emblem of these transitions. She gave sonic form to desire that was no longer entirely coded or restrained; she articulated a femininity that was playful, assertive, and self-aware. In doing so, she did not merely reflect changing sensibilities; she actively participated in their construction.

Equally, she remained the voice of celebration. Her more buoyant renditions carried an infectious rhythmic vitality that made generations of listeners, particularly the youth, tap their feet, inhabit the beat, and momentarily dissolve into the sheer physicality of music. In these instances, her art transcended interpretation and entered the realm of embodied experience, where listening itself became a form of movement.

Thus, Asha Bhosle’s legacy demands to be read not simply as a catalogue of songs, but as a complex cultural text, one that traverses aesthetics, affect, and history. She did not merely sing within the frameworks available to her; she expanded them, destabilised them, and reconstituted them in new and unexpected ways. If playback singing in India today possesses a certain elasticity of form and expression, it is in no small measure due to her interventions.

To invoke the epithet “Queen of Versatility” is, therefore, to gesture toward only a fraction of her significance. She was, more profoundly, a theorist of voice, an artist who understood, intuitively and instinctively, that sound could carry not just melody, but meaning; not just rhythm, but thought.

What remains in her absence is not silence, but resonance: a dispersed, enduring presence that continues to inhabit the interstices of memory and listening. In her passing, we are reminded of a paradox central to artistic existence, that the human voice, though ephemeral in its production, can, in its most transcendent articulations, attain a form of permanence that defies time itself.

(Avtar Mota )

CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http:\\autarmota.blogspot.com\.

MEIN ROOPBHAWANI: HINDI PLAY PRESENTED BY VOMEDH AND THE AVANTI FOUNDATION

MEIN ROOPBHAWANI: HINDI PLAY PRESENTED BY VOMEDH AND THE AVANTI FOUNDATION

( Photographs courtesy.... Kamal Kishen Ganjoo )

The staging of Mein Roopbhawani at Abhinav Theatre, Jammu, on 24 March 2026, under the aegis of Vomedh and the Avanti Foundation, stands as a significant cultural and theatrical achievement, marked by a rare synthesis of literary depth and performative excellence. Conceived as the first Hindi play on the divine life of the seventeenth-century Kashmiri mystic Mata Roopbhawani, revered as an ansh-avataar of Goddess Sharika, the production succeeds in evoking both the spiritual gravitas and the cultural richness of its subject.

At the core of the production lies the script by Dr Agnishekhar, whose writing offers a profound and lyrically evocative exploration of Roopbhawani’s spiritual journey, balancing philosophical depth with dramatic accessibility. The narrative unfolds with structural coherence and emotional resonance, tracing the saint’s evolution from a spiritually inclined child to an enlightened mystic whose teachings transcend temporal and social boundaries. The true vitality of this script, however, is realised through the ensemble cast's performances, whose collective artistry transforms the written word into a deeply immersive theatrical experience. The actors, J. R. Sagar, Rani Bhan, Suman Pandita, Jatinder Jotshi, Vinay Pandita, Shammi Damir, Rahul Pandita, King C. Bharti, Anil Changari, Vinod Bushan, Sushma Kumari, Hemagani Moza, Ajay Waguzari, Ramesh Pandita, Ishu Bharti Pandit, Tanisha Shashoo, Ranveer Pandita, Akash Katoch, and Kandarv Sharma, demonstrate a commendable unity of purpose and interpretative finesse. Each performer contributes meaningfully to the unfolding of the narrative, embodying their roles with a disciplined control of voice, gesture, and emotional expression. Their performances are marked by an inwardness that aligns with the play's spiritual ethos, enabling them to convey complex philosophical ideas through subtle, nuanced acting. The portrayal of Mata Roopbhawani forms the emotional nucleus of the production, rendered with a compelling balance of serenity and intensity, capturing both the saint’s human struggles and her transcendental realisation. The seamless interplay between script and performance stands as the defining strength of Mein Roopbhawani. The actors do not merely enact the text; they inhabit it, allowing its philosophical and emotional resonances to unfold organically on stage. This synergy results in a theatrical experience that is both intellectually enriching and emotionally stirring. The supporting cast further enriches the dramatic texture by presenting finely observed representations of the social and familial milieu within which Roopbhawani’s life unfolds. Their performances lend historical and cultural authenticity to the narrative, while also highlighting the tensions between societal expectations and individual spiritual aspiration. The ensemble sequences, characterised by coordinated movement and choral expression, are particularly effective in creating moments of heightened dramatic and symbolic significance. The credit for this rightfully belongs to Kuldeep Sudeshi, whose evocative musical score brought the play to life.

The integration of musical and recitative elements within the performance adds another layer of depth, with the actors demonstrating a keen sensitivity to rhythm and tonal variation. These moments not only enhance the aesthetic appeal of the production but also serve to reinforce its devotional and contemplative dimensions. Rohit Bhat, as both director and designer, demonstrates aesthetic sensitivity; his approach deftly negotiating between tradition and modernity while employing visual symbolism and a nuanced spiritual dramaturgy to transform the narrative into a meditative exploration of mysticism, devotion, and inner awakening. Drawing upon the spiritual and cultural ethos of Kashmir, he shapes a dramaturgy that transcends the limitations of conventional biographical theatre, allowing the production to emerge as a deeply contemplative and immersive experience.

The evening unfolded like a finely woven tapestry of art and devotion, where every element moved in perfect harmony; an ode to the unseen hands that shaped its brilliance. Behind the curtain, a laborious team worked with quiet intensity: Bharti Kaul’s costumes breathed life into characters, Pankaj Sharma sculpted light into emotion, Sushma Kumari lent authenticity through her meticulous properties, and Manoj Damir’s makeup artistry transformed vision into living form. At its poetic core lay the evocative lyrics of JK Koul Bezan and Dr Ramesh Narrash, elevated by the sensitive musical orchestration of Ravinder Sharma. The stage found its voice in the stirring renditions of Lovely Chandra, Kuldeep Kalla, Vishal Pandita, and Rahul Kumar, whose performances lingered in the air long after the final note had faded. The visual narrative was immortalised by Osheen Production, while flawless sound was set up by Lokesh, carrying every nuance to the audience. Guiding the audience through this immersive experience with grace and composure was Bindiya Raina Tickoo, whose presence anchored the evening.

The formal vote of thanks, delivered by Dr Amit Wanchoo, Advisor TIFFS-JFF, carried a tone of deep appreciation, with special recognition of Shri Ravi Dhar, President of the Shri Alakh Sahiba Trust, for his steadfast support.

Equally praiseworthy is the role of Vomedh and the Avanti Foundation, whose vision and commitment to cultural preservation have made such a production possible. Their support reflects a broader dedication to reviving and sustaining the spiritual and artistic traditions of Kashmir, providing a platform for meaningful and transformative artistic expression.

In conclusion, Mein Roopbhawani represents a harmonious convergence of literary brilliance and performative excellence. The script provides a powerful foundation, while the ensemble cast elevates it through their collective dedication and artistic integrity. Together, under thoughtful direction and inspired design, and supported by committed cultural institutions, they have created a production that not only honours the legacy of Mata Roopbhawani but also reaffirms the enduring power of theatre as a medium of spiritual and cultural reflection.

(Avtar Mota)

CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http:\\autarmota.blogspot.com\.

THE QUIET MENACE OF FAKE ONLINE MARKETING

                                                                              

                                                                      (AI-created image)

THE QUIET MENACE OF FAKE ONLINE MARKETING

In the rapidly expanding digital marketplace, convenience has become a vulnerability. Among the most troubling developments is the rise of fraudulent online marketing practices, which increasingly prey upon trust, particularly that of the elderly and the medically vulnerable. A recent incident serves as a telling example. An elderly relative of this author was persuaded, through an online platform, to purchase a so-called “neuropathic foot pain cream” for a considerable sum. The product boldly claimed to deliver a cure within a week: an assertion that, to any medically informed observer, is immediately suspect. Upon closer inspection, the cream appeared to be nothing more than petroleum jelly, artificially scented and coloured. More alarmingly, the packaging lacked even the most basic regulatory information: no manufacturer’s name, no list of ingredients, no safety warnings, and no contact details.

Such omissions are not merely careless; they are indicative of deliberate evasion. In legitimate pharmaceutical or cosmetic products, these details are mandatory, serving as safeguards for consumer health and accountability. Their absence transforms a dubious product into a potentially dangerous one. The implications extend beyond financial loss. The use of unverified substances may lead to skin irritation or allergic reactions. More critically, reliance on such products can delay proper medical treatment, allowing underlying conditions to worsen. In cases involving chronic pain or nerve disorders, this delay can have lasting consequences. What makes these schemes particularly insidious is their method of persuasion. They often employ exaggerated claims, fabricated testimonials, and a false sense of urgency; “limited time offers” or “miracle cures”, designed to override scepticism. For individuals less familiar with digital literacy, these tactics can be remarkably effective. Addressing this issue requires both vigilance and education. Consumers must be encouraged to question extraordinary claims and to verify the legitimacy of products before purchase. Equally important is the role of regulatory authorities and online platforms in identifying and removing such fraudulent listings.

In earlier decades, the image of an itinerant vendor laying out questionable remedies on a roadside cloth was a familiar one across South Asia. These sellers, often persuasive and theatrical, would promise miraculous cures for ailments ranging from hair loss to chronic illness. Their trade thrived on spectacle, urgency, and the absence of scrutiny. While their reach was limited to passers-by, the risks they posed, financial exploitation and potential health harm, were real.

Today, that very model has undergone a digital transformation. The footpath has shifted to the infinite scroll of social media platforms, where influence, virality, and algorithmic reach have replaced physical presence. What was once confined to a street corner now operates across borders, languages, and time zones, creating a marketplace that is vast, unregulated, and often opaque.

Social media has become the modern footpath for sellers of dubious products. Just as the traditional Afghan vendor once laid out “cute medicines” on a cloth by the roadside, today’s digital hawkers display miracle cures in Instagram reels. The footpath had no regulator, no license check, and no guarantee of purity. Social media platforms, despite their community guidelines, operate with similar lawlessness regarding fake product marketing. The scale, however, is incomparably larger. A footpath seller could cheat a few dozen people a day. A viral post can deceive millions in hours. Major Drawbacks of Uncontrolled Fake Product Marketing on Social Media*

The Scale and Mechanics of Digital Deception

1. Scale of Deception: A single viral post can mislead millions, unlike a footpath vendor limited to a few dozen.

2. Zero Entry Barrier: Anyone can launch a “brand” with a phone, no license, no verification.

3. Anonymity of Sellers: Accounts are deleted or renamed overnight, removing accountability.

4. Algorithmic Amplification: Engagement rewards sensational claims rather than truth.

5. Targeted Exploitation: Ads use user data to push fake health cures to the vulnerable.

6. Fake Social Proofs: Paid comments, bots, and AI reviews drown out real victims.

7. Cross-border Evasion: Sellers operate from abroad, escaping local jurisdiction.

8. Deepfake Endorsements: AI doctors and celebrities give false credibility.

9. No physical Inspection: Buyers cannot see, smell, or test products before paying.

10. COD Abuse: Cash-on-delivery mimics footpath sales: pay first, discover fraud later.

Consequences for Consumers and the Marketplace

11. Language loopholes: Scams in regional dialects bypass English-trained moderation.

12. Regulatory Lag: Takedowns happen after money is made and accounts abandoned.

13. Health Hazards: Untested supplements, steroids, and skin products cause real harm.

14. Financial Loss: Repeated small scams drain low-income households.

15. Undermining Trust: Genuine small businesses lose credibility in a flooded market.

16. Private Group Sales: WhatsApp and Telegram create closed, unmoderated bazaars.

17. Urgency Tactics: “Limited stock” and “offer ends tonight” force impulse buys.

18. Weak Deterrence*:: Rare penalties mean high profit, low risk for scammers.

19. Victim Silence: Shame and complex reporting stop complaints.

20. 24/7 Exposure: Unlike a street stall, the digital footpath never closes.

The implications of these practices extend far beyond isolated instances of fraud. Consumers are exposed not only to financial exploitation but also to significant health risks, particularly when unverified products claim medicinal or therapeutic benefits. At the same time, legitimate businesses suffer reputational damage in an ecosystem where trust is steadily eroded.

Towards a Framework of Accountability and Trust

I would strongly suggest government intervention, like a mandatory' Product Certification' before social media marketing. It could also be a Digital Product Authentication Number (DPAN) issued by FSSAI, CDSCO, or BIS after quality, safety, and claims verification. The government must advise Meta, YouTube, TikTok, and others to block health, wellness, and finance ads without a valid DPAN embedded in the ad metadata. The authorities must link every commercial social media page to Aadhaar or GST with physical address verification before ad tools are enabled. Any product claiming to treat, cure, or enhance must pass an expedited claims-review board. No DPAN, no post. Authorities must enable buyers to scan a QR or click a link on every ad to view the certificate, ingredients, manufacturer, and complaint history. Platforms must face fines for untagged fake product ads that runs >24 hours after reporting. Authorities must reward users who report uncertified products that lead to takedowns, paid from penalties collected.

IT Ministry, Health Ministry, and Consumer Affairs jointly run a real-time monitoring cell with API access to ad libraries. We must also empower state cyber cells to freeze COD accounts and payment gateways tied to uncertified sellers. The government must run ads in regional languages explaining DPAN and how to check it, making certification a consumer habit.

These measures, if implemented effectively, would not only deter fraudulent actors but also create a culture of accountability and transparency. By ensuring that every marketed product carries verifiable credentials, the digital marketplace can begin to restore consumer confidence.

 Conclusion

This is the need of the hour to regulate marketing on Social media.

The evolution from footpath trading to digital selling need not be a descent into unchecked exploitation. With timely intervention, thoughtful regulation, and informed consumer participation, it is possible to transform this chaotic landscape into a trustworthy and equitable marketplace. The objective is not to stifle innovation, but to ensure that progress is accompanied by responsibility, safeguarding both public health and consumer trust in an increasingly digital age.

 

( Avtar Mota )

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